Tag Archives: collected resources

I collect useful links. It’s my thing. And now that I’m embarking on some sewing projects which will work better with some of those piles of information readily at hand and tidily organized, it seems that I might as well do that organizing on here, so anyone else with an obsessive desire to research 97 different ways to do something can also partake of my linkful bounty.

Now, obviously the subject of sewing with jersey and other knit fabrics does not have a great deal to do with historical sewing, but many twentieth century styles involve knit fabrics, plus knits can be used for modern interpretations of even more styles, as well as for current designs. I love many mid-twentieth-century vintage styles as well as true historical costumes (you know, really old stuff), and I’ve found that I can get away with wearing 1950s styles in everyday life, which is not so much the case for, say, 1850s. And sometimes a girl just needs a T-shirt.

So, without further ado, here are my links for working with jersey and other knit fabrics, for making T-shirts, sweaters, dresses, miscellaneous refashions, and more, including doing jersey versions of patterns intended for wovens. As I run across/track down further handy-dandy resources, I’ll go back and add them in here, with eye-catching asterisks (***) to signal the new additions.

“Hack Ideas,” an inspiring Pinterest Board by Steph C of 3 Hours Past, along with other contributors, with pictures of designs both knit and woven, collected as inspiration for Steph’s monthly hacks for her Blank Canvas T free pattern (see below for more information and links to individual designs).

“Never Fear Knits – Part 1” at Dixie DIY. The first post in a handy series, followed by Part 2 on definitions and the basics of what a knit fabric is, Part 3 on fiber types and fabric types , Part 7 is on troubleshooting and other how-to-sew-with-knits resources, and the others are scattered through here by topic. (Also: 1, 2, 3, 4, 5, 6, & 7.)

There are drafting instructions for pattern “hacks” and various patterning-with-knit-fabrics tips in the posts about the Blank Canvas Tee by Steph C at 3 Hours Past (the various designs are listed there and a few inches down from here).

“Blank Canvas Tee” by Steph C at 3 Hours Past the Edge of Tomorrow. The main page for Steph’s free T-shirt pattern with short cut-on (kimono) sleeves and easy-to-fit sides, with links to the different size BCT patterns to download (then print, tape together, and cut out), and to all the different designs and hacks, one each month!

Learn how to sew a ribbon placket on a vintage-style cardigan with “Guest Post: Tasha” at Casey’s Elegant Musings, by Tasha of By Gum, By Golly.

“Dash Away the Winter Blues with Embroidery!” by Casey at Casey’s Elegant Musings, a tutorial for adding a vintage-style embroidered embellishment to a cardigan, complete with an adorable Scottie dog and several links to sources for free vintage embroidery patterns.

“Cupid’s Arrow Sweater Embellishment” by Casey at Casey’s Elegant Musings, a tutorial for a charming Valentine’s Day inspired applique-and-beading design to add to any plain cardigan.

“Free Hipster Pattern” at MakeBra, a downloadable underwear pattern in small, medium, and large, plus tutorial. The panties are modern, low-rise and low-cut on the leg (a.k.a. “hipster” – eep!).

“Make Your Own Upcycled Undies” by Lauren Dahl at Ruthie Pearl. Use scavenged knit-fabric garments or scraps to make panties of various styles. Make your own pattern based on an existing pair of panties, then use fold-over elastic to easily and attractively finish.

“Detour Into Panty Land” by Gretchen Hirsch at Gertie’s New Blog for Better Sewing, a post about using an Ohhh Lulu pattern to make high-waisted 1950s-style panties using various materials. Followed be even more in The Panty Express. Plus, if anyone thinks you’re crazy for liking retro high-waisted knickers, check out Gertie’s “In Defense of Granny Panties.”

Accessories and Other Things You Can Make with Knit Fabrics

“The Maxi” by Leanne Barlow at Elle Apparel, a tutorial for making a casual, semi-full maxi skirt with a yoga waistband.

“Smoooooooth Waistbands” by LiEr at IkatBag, a tutorial for a smooth application of a waistband onto knitwear pants.

Knit Fabric Clothes for Babies and Children (just scratching the surface!)

Online Suppliers of Knits and Stretch Fabrics(these are places I’ve personally bought from or that have been recommended by sources I consider to be reliable)

Fabric.com is, honestly, where I do most of my fabric-purchasing these days. They don’t carry everything, but I tend to check and keep checking for various things I’m interested in (I looked for cotton crinoline for years before they started carrying it and, eventually, I bought a bunch on sale), and I watch for sales. Whenever I’m going to buy anything from them (orders $35 and over get free shipping!), I check the deep discounted clearance sections to see if anything I need is discounted. I’ve found 50% off hemp rayon knits both of the last times I looked! Their organic cotton knits and hemp rayon knits are both very nice, in my experience. (And they’re not paying me to say any of this, alas.)

Sifting Through Endless Edwardian Patterns by Jennifer Rosbrugh at HistoricalSewing.com, an article listing and reviewing various 1900s and 1910s patterns available commercially, as well as some available for free online.

Certainly, clothing was different in New Mexico; clothing everywhere was subject to regional variation, especially in places with substantial cultural intersections. But in the course of my research, I found that clothing in New Mexico around 1912 was not as markedly different from clothing elsewhere in the United States than I had expected. In the local photographs and newspaper advertisements I surveyed, New Mexican men are often seen wearing three-piece suits, though working men sometimes lack a jacket, and can sometimes be seen without waistcoats as well (though this was considered somewhat indecent). Likewise, New Mexican women are typically seen in dresses and separates like those worn elsewhere in the United States. Both sexes seem to have kept up with east coast fashions to whatever degree they could afford it, with simpler and less modish clothing for people with low incomes.

There’s a common belief that women in the West “must” have worn corsets less than women in cities back east, because it was too hot, and corsets were not practical. But in my experience, for women of a, shall we say, buxom variety, it can actually be more comfortable to wear a corset, with evenly distributed bottom-up support, rather than a modern bra, with support coming in from straps which hang from the shoulders and a narrow band around the chest. Historically, corsetry is not synonymous with tight-lacing, and it need not be painful, dangerous, or even particularly uncomfortable. I have personally worn a corset while in the heat working outside, and it made very little difference, as long as it was made of natural fibers (which breathe), fit well, and was laced properly, not too tight or too loose. So, Western women could have worn corsets. Did they?

My survey of early twentieth century photographs of people in New Mexico and the Southwest indicates that corsets were worn with roughly the same incidence in this region as elsewhere in the United States. Which is to say, they were worn by most women, most of the time, with the exception of some elderly women, some very poor women, and women otherwise socio-culturally outside of any concerns about Euro-American fashion. In the latter category, photographs of Native Americans taken in the early twentieth century often show people in what appears to be the traditional dress of their people, or, in some cases, a romanticized version of traditional dress; unsurprisingly, in these images, none appear to be wearing corsets. But among Euro-American and Hispanic women, the corset appears to have been as common in New Mexico as anywhere else.

This is not to say that clothing in New Mexico was the same as anywhere else – regional variations played a role, more so than they do today, even. Regional variations are particularly marked among the lower rungs of society; unfortunately, these are also consistently the least documented parts of society. It is difficult to find pictures of working class people, subsistence farmers, and the like, especially pictures in their everyday working clothes rather than their Sunday best. Because of the comparative scarcity of such images, it’s difficult to make a broad analysis – the sample size is too small. Hopefully, I will be able to increase my pool of study material and do further research on this subject.

As a general framework, though, my research so far indicates that it is reasonable to assume that clothing in New Mexico circa 1912 was, for many people, much like clothing in the rest of the United States, particularly among the upper and middle classes of both Anglo-American and Hispanic descent.

1912 Project: New Mexico, a Pinterest Board of mine, with a collection of images and links, including many of people who appear to be of Hispanic descent and of people known to be of Hispanic descent (such as photographs of the Amador family of Las Cruces).

Overview

While ladies’ fashion was changing rapidly during the decade of the 1910s, menswear changed very little. One small change did prove to be significant in the long term though: increasingly, gentlemen were dinner or tuxedo jackets instead of tailcoats for less formal evening occasions. The number of occasions for which a tuxedo was sufficiently formal increased during the 1910s and in the following decades until, today, black tie and tails, much less white tie and tails, is required an an extremely limited number of occasions, for an extremely narrow band of the population (high society, fine dining waiters, and cabaret performers, mostly), and the tuxedo is generally thought of as the height of formality.

Three-piece suits and variations thereof were the norm for men around 1912. Waistcoats typically lacked collars, and were cut quite high, leaving very little of the shirt bosom exposed on either side of the necktie. Shirt collars were very high and stiff, often made to be detachable so that they could be readily cleaned or replaced, since they soiled much more quickly then the rest of the shirt. Morning dress with a cutaway coat and striped trousers could be worn for formal daytime occasions, but by this time, the practice of wearing formal morning dress was already more common in Britain than in the United States.

While menswear for centuries has tended to change slowly, it is more variable than it might first appear. Even within the circa 1912 period, there was a great deal of variation – many elements of the suit, shirt, collar, tie, hat, coat, and accessories could be personalized to suit the owner’s tastes, within in a certain range of parameters. Jacket lapels could vary in width and proportion, jacket length varied, shirt collar height and proportion varied, and hats were available in an almost inconceivable array of shapes and sizes. Stripes and other patterns were worn sometimes, especially for daywear and casual sportswear. Sportswear could be extremely colorful, in fact, and dressing gowns (robes) were positively flamboyant.

Working class and rural farming men would still have been likely to own three-piece suits, to wear for “best,” though some men at this point did elect not to wear waistcoats all the time, and when working hard, any man might remove his jacket. In polite company, a man did not sit down to dinner in his shirtsleeves, and lacking both waistcoat and jacket in front of a woman was suspect behavior.

If you need a 1912 man’s costume in a hurry, without much sewing, and inexpensively, your best bet is going to be a thirft store suit. There were various cuts of suit popular at this time period, so your odds of finding something workable in the right size are high. First, look at pictures of c. 1912 suits to train your eye for what to look for. Next, make sure you know your chest and waist measurements so you can easily check if a suit on the rack might fit you (you can check length by hanging it against you). Remember to look for natural fibers! Synthetic fibers like polyester are not only inaccurate, but extremely uncomfortable to wear (especially 100% polyester); they’re very hot and don’t breathe, plus they stain easily.

When you’re looking for a suit, look for a jacket with square, properly fitting shoulders, and a fitted or slightly loose-fitting but tailored shape and fit. It can single-breasted or double-breasted, though single-breasted was more common. Lapels generally tended to be around medium size, though some men wore their lapels wide, so that’s an acceptable option too. Lapels were cut quite far up at the time, tending to end high on the chest rather than at waist level. Jacket length could vary, but remember that this shouldn’t be a long zoot suit style (though there are some baggy, striped suits of the time that stylistically lean in that direction!). Trousers can be medium to loose fitting, but should taper to a narrower ankle, even if only slightly. Overall, the suit should be slightly baggy, but not too much – it’s a balancing act.

If you can’t find a three-piece suit with a waistcoat, it’s acceptable to have a mismatched waistcoat/vest, made from a different but harmonizing material. The waistcoat should fit snugly – much more so than the rest of the suit. The waistcoats typically lack lapels, and are cut with a high, tight V opening. The bottom edge comes to two closely placed points at the front. Vest materials can be livelier than other suit materials typically are – stripes were popular.

Shirts were typically very high-collared, so look for the highest collars you can find, or, if you are feeling adventurous, you could even try removing a shirt collar and adding a homemade (even a paper!) collar, which is accurate. The cut of the collar could almost totally hide the knot of the necktie, depending on its shape. Neckties were highly variable in color and pattern, but they were usually cut nearly straight and tied with small knots.

Don’t forget a hat! In 1912, a decent man simply didn’t leave the house without a hat. Look through pictures to see appropriate styles, and look for something similar. If you are looking to be costumed as someone actively laboring, who would not be wearing a three-piece suit, look for pants cut along the lines mentioned above, and wear them with collar-less shirt and suspenders, preferably the kind of button onto the pants rather than clip on. And don’t forget that hat!

Edwardian Era: Patrician Protocols, an article on the 1900s and 1910s in a series of articles on the history of menswear, particularly formal menswear, at The Black Tie Guide: A Gentleman’s Guide to Evening Wear (Second Edition).

Overview

Changing Trends in Ladies’ Fashion

The years 1911 and 1912 represent a transitional in-between period in women’s fashion, similar to the late 1830s and the late 1860s (the years on either end of the full-skirted, drop-shouldered, natural-waisted period). The aesthetic of the 1890s and 1900s was one of voluptuous grace, with delicate materials and delicate colors, while the aesthetic during World War I was more modern and more practical, with a shorter, fuller skirt; an unfitted and slightly elevated waistline; and a great popularity for suits and separates. Examining the two aesthetics side by side, the difference is extreme, though they are separated by only four or five years. In between the two lies a transitional period sharing commonalities with styles on either side, but also with unique elements of its own, in particular the slim silhouette known as the “hobble skirt,” which could at its extremes be narrow enough to limit the length of a woman’s steps, essentially “hobbling” her. This trend lasted only between 1911 and 1914; in 1910 skirts were still falling in a softly flaring bell shape, while by 1915 they had shortened and widened, offering wartime women a practical, modernized style.

The rapid progression of fashions between 1909 and 1915 was essentially the midpoint of fashion’s transformation from what is considered “nineteenth century” to what is considered “twentieth century.” The loosened waist of the 1910s became the straight, dropped waist of the 1920s, and the skirts that shortened just two or three inches around 1915 became the short skirts of the 1920s, complete with a shocking display of ankle and calf, occasionally even a glimpse of knee. World War I influenced this massive transition, in terms of women’s habits of living and need for practicality in dress, as well as in terms of necessitating changes in attire due to wartime austerity measure which required, among other things, the steel that would have gone into the manufacture of corsets.

The Look of 1911-1912

The silhouette was slim, with a long, narrow skirt; a sleek or slightly raised waistline; and preferably an enormous hat. Dresses were still popular, but suits and other separates were very common by this point. Many garments advertised in Sears Catalogs and the like were skirts and blouses or shirtwaists; separates could be very fine and high quality, or they could serve the same purpose and be simpler and quite inexpensive. Society ladies wore shirtwaists and skirts; so did shopgirls and farmers’ daughters going to town.

1912 Project, a Pinterest Board of mine, with a collection of images and links relating to fashion and costume in general for the era, including fashion illustrations, period photographs, extant garments, and so forth.

If you need a 1912 woman’s costume in a hurry, without much sewing, and inexpensively, your best bet is going to be a blouse or shirtwaist and a skirt. Look for an ankle-length or full-length, straight, narrow skirt – this silhouette was also popular in the 1970s, which can help with thrift store costuming (but look out for hot, plasticky polyester). 1970s and 1980s blouses can provide the top half of the ensemble, but you want to look for thin, potentially even sheer, cotton or linen (and rayon or blends could do in a pinch). Look for a blouse without puffy sleeves – this is a period where slightly sloping shoulders are ideal, and puffy shoulders were not the look of 1912. Look at period blouses first, to get an idea of the look. Remember that if buttons look too plasticky, you can easily remove and replace them, even with limited sewing skills.

Don’t forget to top off your ensemble with some kind of headwear – respectable women simply didn’t leave the house without hats in 1912. Large hats were popular at the time – the tutorials below can help you turn a $5 party store hat into a passable 1910s shape waiting for some decorations – even a scarf or piece of sheer fabric or wide ribbon wrapped around and pinned or stitch in place with a fluffy shape can help to give the look of the period. Gloves ought to be worn outdoors, so if you can find a pair that look roughly right, excellent. For shoes, simple black or brown or tan “granny boots” will do, or low-heeled Oxfords – these are conveniently quite trendy in 2012, and are often perfect for 1912.

These basic elements can go a long way for creating the look of 1912, and if you work to create 1912-style hair as well, you can really look the part. Keep in mind that, in 1912, you almost certainly would have been wearing a corset – even most suffragettes wore corsets. The shape of the corset would change your silhouette, how your clothes fit, and how you stand and move. The ideal figure of the period had slim, sleek hips and a low, gently rounded mono-bosom, assisted if need be by ruffles and padding. The high, out-thrust shape of a modern bra looks incongruous with these styles – you might consider a sports bra or a bra-top camisole to get a more period look.

Hat Decorations, by Jennifer Thompson at Festive Attyre. A follow-up article/tutorial on decorating a reshaped straw hat for the 1910s.

Trends & Changing Fashions

Costume: Belle Epoque (1890s-1900s), a Pinterest Board of mine, with a collection of images and links, illustrating the period of fashion immediately prior to the slim silhouette of 1911-1913, when a voluptuous, pigeon-breasted figure was fashionable.

Costume: 19teens and Early 1920s, a Pinterest Board of mine, with a collection of images and links, illustrating the period of fashion immediately following this period, when shorter, fuller skirts and higher waists, then dropped waists, were fashionable.

*A Nineteen Teens Pleated Skirt, by Katherine C-G at Koshka-the-Cat. A straightforward tutorial for creating a skirt of the fuller style that became popular following the trend for slim “hobble” skirts, circa 1911-1913. This style is slightly later than most skirt shapes of 1912, but ladies’ suit styles were sometimes shaped like this. The construction information here is very straightforward and, since the skirt is simply cut in rectangles, it can be made without a pattern, by a relatively inexperienced sewist.

A Nineteen Teens Middy Blouse, by Katherine C-G at Koshka-the-Cat. Like the skirt at the same site, this design is a couple years too late for 1912, but it is nevertheless a good resource, with many detailed construction photographs informative about creating blouses and shirtwaists for the period.

1910-14 Velvet Evening Gown 1 by Sunny Buchler, an article at Your Wardrobe Unlock’d, the Costumer’s Companion, a fee-based subscription site. Part of a series of detailed posts examining an extant evening gown. See also Part 2, Part 3, and Part 4.

Help Bling Me, by Kendra Van Cleave at Demode. An article about selecting jewelry to wear with a reproduction 1912 evening gown.

Corsets & Brassieres

1912 Project: High Bust Corsets, a Pinterest Board of mine, with a collection of images and links of/about corsetry, focusing on corsets cut higher than the nearly underbust shape that was the most common style. This less common style provided more support for the bust than an underbust corset and brassiere or camisole.

*1911 – All the Steps in One Place by Jo at Bridges on the Body, a table of contents for her detailed series on constructing a reproduction c1911 corset, including extensive fitting information.

Gibson Tuck by Samantha at Locks of Elegance, a photo tutorial for a simple hairstyle popular just before and during the period in question.

Working Clothes (farming, heavy labor, servants)

1912 Project: Hard at Work, a Pinterest Board of mine, with a collection of images and links, specifically of people in working clothes of some variety.

High Fashion / Haute Couture

Les Createurs de la Mode (1910) by L. Roger-Miles, a digitized primary source book in French about the process of buying ladies’ fashions from Parisian couturiers, including many images, available free for download at the Internet Archive.

Les Robes de Paul Poiret (1908) by Paul Iribe and Paul Poiret, a digitized primary source book in French filled with couture gown designs by Paul Poiret, the height of fashion.

*Sifting Through Endless Edwardian Patterns by Jennifer Rosbrugh at HistoricalSewing.com, an article listing and reviewing various 1900s and 1910s patterns available commercially, as well as some available for free online.

Catalog no. 124 (1912) by Sears, Roebuck, and Company. A complete digitized copy of the 1912 Sears Catalog, over a thousand pages long and full of wonderful information. Much of the merchandise was affordable for farmers, working families, and others without much disposable income.

For a Sideways Bit of Perspective and Possibly Insight…

Here are several digitized primary source books about the history of costume – written around 1912. Early works on the history of costume are full of misinformation (often including potentially offensive errors and generalizations), but they can provide insight into the prevailing ideas of the day about clothing, fashion, ideals of beauty, and “common sense.”

Costume (1906) by Eliza Aria, a digitized primary source book, available free for download at the Internet Archive.

I am using this post to collect references for period images of naturalistic crowd scenes from the 19th century and, perhaps occasionally, earlier. I will add images as I run across them.

Black, J. Anderson, and Madge Garland. A History of Fashion. New York: William Morrow and Company, Inc., 1980.

Images: A scene from the Great Exhibition of 1851, page 190; Derby Day of 1858 by W. P. Frith, pages 192-193; the 1850s Winterhalter painting of the Empress Eugénie and her ladies, page 195; a painting of London’s Hyde Park by John Ritchie, 1858, page 201; “The Eve of a Public Holiday,” painted by A. H. Hunœus in 1862, a great crowd scene, pages 202-203; the 1866 Monet of women in full, light-colored gowns in a garden, page 205; the 1874 Tissot painting of a crowd aboard a ship on a summer day, page 214.

By Ava Trimble

I'm a historian of domestic life, clothing, and needle arts, working on my M.A. in public history at New Mexico State University. I like making connections between cultural history, social history, material culture, and (dare I say it?) experimental archaeology. I believe in studying the history of clothes, sewing, and housework with as much intellectual rigor as any other aspect of history, and I have a vendetta against polyester reproduction garments in museum exhibits.

Join me as I research obscure stitching techniques, strive to create obsessively accurate reproduction clothes, and opine at length about the comfort and functionality of various iterations of undergarments.